Knight and the City(18 Feb. 2009)

Looking forward to some much needed down-time, Michael returns to his old neighborhood, only to find that the owner of the local bar has died of mysterious causes and the bar scenery has ... See full summary »

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Looking forward to some much needed down-time, Michael returns to his old neighborhood, only to find that the owner of the local bar has died of mysterious causes and the bar scenery has changed also, including several fires in recent weeks. Written by
Moviedude1

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It's almost over, but while the series takes it's dying breaths, it at least dies with some dignity. Perhaps it's the significant (but still not *impressive*) increase in the quality of these last hours when compared to the ugly birth pains that allowed the series to last more than ten episodes.

This one starts promisingly (relatively speaking, of course). The writers haven't bothered to come up with anything original, but they did choose to use the tried-and-tested "hero visits his old idol only to find out they are no longer alive and also meets a girl from his past" plot. It's hard to completely mess that one up. It also helps if said girl is the far-too-rarely seen angelic Alona Tal, who often also kicks ass in her roles.

There are both pros and cons that largely cancel each other out. Structurally, this is by-the-numbers neutral. Dramatically, is as inept as you'd expect any episode of this series to be. And we also see the world's most ineffectual 8,000 rounds ever fired. Also, let's not forget the embarrassingly idiotic sub-standard FX car flip. On the other hand, *the* climactic fight is surprisingly well done and Ms. Tal naturally steals all the scenes she's in, acting the wooden regular cast off the stage. This just might be the best episode of the whole series. When the makers don't get overambitious and stick to basics, the result is a decent 6/10* that you can finally call entertaining instead of torturous. But no logical argument will support the full 10/10 rating that 19 users (at the time of writing) have granted this.

*) HOW THE RATING IS GIVEN: Since the average between the lowest rating (1) and highest rating (10) is 5.5, everything gets a starting rating of 6. After that, points are either added or subtracted depending on the actual content: Plot, script, acting, directing, music, production values and so on. Also, the content is weighted against previously rated works, which act as a guideline. Also, to get the lowest or highest possible rating, the work must approach the worst or best thing ever seen, respectively. And as the laws of probability state, both are *extremely* rare.

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